Quotes of All Topics . Occasions . Authors
When we build ... let it not be for present delights nor for present use alone. Let it be such work as our descendants will thank us for, and let us think ... that a time is to come when these stones will be held sacred because our hands have touched them, and that men will say as they look upon the labor, and the wrought substance of them, See! This our fathers did for us!
It is only the basest writer who cannot speak of the sea without talking of "raging waves," "remorseless floods," "ravenous billows," etc.; and it is one of the signs of the highest power in a writer to check all such habits of thought, and to keep his eyes fixed firmly on the pure fact , out of which if any feeling comes to him or his reader, he knows it must be a true one.
Two main groups like to drop the readymade bomb—galleries and art historians. Galleries love to drop the Duchamp brand because dealers can try to convince clients of an artist’s worth just by mentioning the mouthwatering response readymade. Most Art Historians aren’t interested in what artists are making in Bushwick studios, most of whom rarely wake up with Duchamp on the brain.
All are to be men of genius in their degree,--rivulets or rivers, it does not matter, so that the souls be clear and pure; not dead walls encompassing dead heaps of things, known and numbered, but running waters in the sweet wilderness of things unnumbered and unknown, conscious only of the living banks, on which they partly refresh and partly reflect the flowers, and so pass on.
We need examples of people who, leaving Heaven to decide whether they are to rise in the world, decide for themselves that they will be happy in it, and have resolved to seek not greater wealth, but simpler pleasure; not higher fortune, but deeper felicity; making the first of possessions, self-possession; and honouring themselves in the harmless pride and calm pursuits of peace.
What does cookery mean? It means the knowledge of Medea and of Circe, and of Calypso, and Sheba. It means knowledge of all herbs, and fruits, and balms and spices... It means the economy of your great-grandmother and the science of modern chemistry, and French art, and Arabian hospitality. It means, in fine, that you are to see imperatively that everyone has something nice to eat.
My entire delight was in observing without being myself noticed,- if I could have been invisible, all the better. . . to be in the midst of it, and rejoice and wonder at it, and help it if I could, - happier if it needed no help of mine, - this was the essential love of Nature in me, this the root of all that I have usefully become, and the light of all that I have rightly learned.
But I beg you to observe that there is a wide difference between being captains or governors of work, and taking the profits of it. It does not follow, because you are general of an army, that you are to take all the treasure, or land, it wins; (if it fight for treasure or land); neither, because you are king of a nation, that you are to consume all the profits of the nation's work.
Men say their pinnacles point to heaven. Why, so does every tree that buds, and every bird that rises as it sings. Men say their aisles are good for worship. Why, so is every mountain glen and rough sea-shore. But this they have of distinct and indisputable glory,--that their mighty walls were never raised, and never shall be, but by men who love and aid each other in their weakness.
Even the most daring and accomplished people have undergone tremendous difficulty. In fact, the more successful they became, the more they attributed their success to the lessons learned during their most difficult times. Adversity is our teacher. When we view adversity as a guide towards greater inner growth, we will then learn to accept the wisdom our soul came into this life to learn.
The love of dress is very marked in this attractive animal; he is proud of the lustre of his coat, and cannot endure that a hair of it shall lie the wrong way. When the cat has eaten, he passes his tongue several times over both sides of his jaws, and his whiskers, in order to clean them thoroughly; he keeps his coat clean with a prickly tongue which fulfills the office of the curry-comb.
The repose necessary to all beauty is repose, not of inanition, nor of luxury, nor of irresolution, but the repose of magnificent energy and being; in action, the calmness of trust and determination; in rest, the consciousness of duty accomplished and of victory won; and this repose and this felicity can take place as well in the midst of trial and tempest, as beside the waters of comfort.
There is no wealth but life. Life, including all its powers of love, of joy, and of admiration. That country is the richest which nourishes the greatest numbers of noble and happy human beings; that man is richest, who, having perfected the functions of his own life to the utmost, has also the widest helpful influence, both personal, and by means of his possessions, over the lives of others.
Not without design does God write the music of our lives. Be it ours to learn the time, and not be discouraged at the rests. If we say sadly to ourselves, "There is no music in a rest," let us not forget " there is the making of music in it." The making of music is often a slow and painful process in this life. How patiently God works to teach us! How long He waits for us to learn the lesson!
An artist, in my experience, is a man or woman of unusual talent and peculiar, highly individual sensibility, with an independent and probably contrary mind, driven by mysterious passions for which another word is neurosis. In getting from point A to point B, the neurotic goes via point Q. It's in that roundabout that people are either completely crippled and hopeless in life, or highly creative.
Geology does better in reclothing dry bones and revealing lost creations, than in tracing veins of lead and beds of iron; astronomy better in opening to us the houses of heaven than in teaching navigation; surgery better in investigating organiation than in setting limbs; only it is ordained that, for our encouragement, every step we make in science adds something to its practical applicabilities.
It is not so much in buying pictures as in being pictures, that you can encourage a noble school. The best patronage of art is not that which seeks for the pleasures of sentiment in a vague ideality, nor for beauty of form in a marble image, but that which educates your children into living heroes, and binds down the flights and the fondnesses of the heart into practical duty and faithful devotion.
One of the fundamental reasons why so many doctors become cynical and disillusioned is precisely because, when the abstract idealism has worn thin, they are uncertain about the value of the actual lives of the patients they are treating. This is not because they are callous or personally inhuman: it is because they live in and accept a society which is incapable of knowing what a human life is worth.
Depend upon it, the first universal characteristic of all great art is Tenderness, as the second is Truth. I find this more and more every day: an infinitude of tenderness is the chief gift and inheritance of all the truly great men. It is sure to involve a relative intensity of disdain towards base things, and an appearance of sternness and arrogance in the eyes of all hard, stupid, and vulgar people
If it is the love of that which your work represents--if, being a landscape painter, it is love of hills and trees that moves you--if, being a figure painter, it is love of human beauty, and human soul that moves you--if, being a flower or animal painter, it is love, and wonder, and delight in petal and in limb that move you, then the Spirit is upon you, and the earth is yours, and the fullness thereof.
What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.
Candlesticks and incense not being portable into the maintop, the sailor perceives these decorations to be, on the whole, inessential to a maintop mass. Sails must be set and cables bent, be it never so strict a saint's day; and it is found that no harm comes of it. Absolution on a lee-shore must be had of the breakers, it appears, if at all; and they give plenary and brief without listening to confession.
He who has once stood beside the grave, to look back upon the companionship which has been forever closed, feeling how impotent there are the wild love, or the keen sorrow, to give one instant's pleasure to the pulseless heart, or atone in the lowest measure to the departed spirit for the hour of unkindness, will scarcely for the future incur that debt to the heart which can only be discharged to the dust.
No matter what difficulty you are facing, it is coming from Divine Light to bring you to a higher place within. Write down every conceivable reason that this situation can contribute towards your growth. Write down every way this experience can possibly set the stage for serving to uplift others. When you are complete, and have come to the other side of this experience, you will then know 'why' it happened.
I do not mean to call an elephant a vulgar animal, but if you think about him carefully, you will find that his nonvulgarity consists in such gentleness as is possible to elephantine nature-not in his insensitive hide, nor in his clumsy foot, but in the way he will lift his foot if a child lies in his way; and in his sensitive trunk, and still more sensitive mind, and capability of pique on points of honor.
Will you not covet such power as this, and seek such throne as this, and be no more housewives, but queens? There is no putting by that crown; queens you must always be; queens to your lovers; queens to your husbands and sons; queens of higher mystery to the world beyond. . . . But alas! you are too often idle and careless queens, grasping at majesty in the least things, while you abdicate it in the greatest.
Those who first invented and then named the constellations were storytellers. Tracing an imaginary line between a cluster of stars gave them an image and an identity. The stars threaded on that line were like events threaded on a narrative. Imagining the constellations did not of course change the stars, nor did it change the black emptiness that surrounds them. What it changed was the way people read the night sky.
Pessimism like calumny is easy to do, and attracts immediate attention. The gossiper and the writer may find this out soon enough, and a little encouragement from the current mood will procure them successes that bring endless imitators in their trail. On the other hand saying good things about life in general and individuals in particular and making it interesting is a serious task which few can achieve with credit.
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
No changing of place at a hundred miles an hour will make us one whit stronger, or happier, or wiser. There was always more in the world than man could see, walked they ever so slowly; they will see it no better for going fast. The really precious things are thought and sight, not pace. It does a bullet no good to go fast; and a man, if he be truly a man, no harm to go slow; for his glory is not at all in going, but in being.
In my own version of the idea of 'what art wants,' the end and fulfillment of the history of art is the philosophical understanding of what art is, an understanding that is achieved in the way that understanding in each of our lives is achieved, namely, from the mistakes we make, the false paths we follow, the false images we have come to abandon until we learn wherein our limits consist, and then how to live within those limits.
By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.
You must get into the habit of looking intensely at words, and assuring yourself of their meaning, syllable by syllable-nay, letter by letter... you might read all the books in the British Museum (if you could live long enough) and remain an utterly "illiterate," undeducated person; but if you read ten pages of a good book, letter by letter, - that is to say, with real accuracy- you are for evermore in some measure an educated person.
What quality is shared by all objects that provoke our aesthetic emotions? Only one answer seems possible— significant form. In each, lines and colors combined in a particular way; certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations of lines and colors, these aesthetically moving forms, I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.
As long as there are cold and nakedness in the land around you, so long can there be no question at all but that splendor of dress is a crime. In due time, when we have nothing better to set people to work at, it may be right to let them make lace and cut jewels; but as long as there are any who have no blankets for their beds, and no rags for their bodies, so long it is blanket-making and tailoring we must set people to work at, not lace.
Sometimes, because of its immediacy, television produces a kind of electronic parable. Berlin, for instance, on the day the Wall was opened. Rostropovich was playing his cello by the Wall that no longer cast a shadow, and a million East Berliners were thronging to the West to shop with an allowance given them by West German banks! At that moment the whole world saw how materialism had lost its awesome historic power and become a shopping list.
And with respect to the mode in which these general principles affect the secure possession of property, so far am I from invalidating such security, that the whole gist of these papers will be found ultimately to aim at an extension in its range; and whereas it has long been known and declared that the poor have no right to the property of the rich, I wish it also to be known and declared that the rich have no right to the property of the poor.
Far from affording artists continuous inspiration, mass-media sources for art have become a dead end. They have combined with the abstractness of institutional art teaching to produce a fine-arts culture given over to information and not experience. This faithfully echoes the drain of concreteness from modern existence- the reign of mere unassimilated data instead of events that gain meaning by being absorbed into the fabric of imaginative life.
Still, there is a basic reticence about his approach that feels refreshing in today's culture of maximum exposure. Brandt did not go to great lengths to turn people into icons, nor did he presume to show their “true nature” in something so transient as a photograph. Instead, he used photography's special qualities to suggest intimate things about his subjects, things that cannot be put into words, and may not even be possible to put into pictures.
The whole difference between a man of genius and other men, it has been said a thousand times, and most truly, is that the first remains in great part a child, seeing with the large eyes of children, in perpetual wonder, not conscious of much knowledge--conscious, rather of infinite ignorance, and yet infinite power; a fountain of eternal admiration, delight, and creative force within him meeting the ocean of visible and governable things around him.
No human face is exactly the same in its lines on each side, no leaf perfect in its lobes, no branch in its symmetry. All admit irregularity as they imply change; and to banish imperfection is to destroy expression, to check exertion, to paralyze vitality. All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed, that the law of human life may be Effort, and the law of human judgment, Mercy.
Being critical of art is a way of showing art respect. No sports writer would say, "Well the Yankees had a great season this year." No food critic would get a bad meal and say, "Oh, it was so lovely." It always strikes me as odd when people say, "Why do you write negatively about any art?" I think that everybody has mixed feelings about everything - even Goya. I mean, I look at Rembrandt sometimes and I hear a voice in my head go, "It's pretty brown."
There are, indeed, two forms of discontent: one laborious, the other indolent and complaining. We respect the man of laborious desire, but let us not suppose that his restlessness is peace, or his ambition meekness. It is because of the special connection of meekness with contentment that it is promised that the meek shall 'inherit the earth.' Neither covetous men, nor the grave, can inherit anything; they can but consume. Only contentment can possess.
The Renaissance had resulted in the emancipation of the individual, in making him feel that the universe had no other purpose than his happiness. This brought an entirely new answer to the question, 'Why should I do this or that?' It used to be, 'Because self-instituted authority command you.' The answer now was, 'Because it is good for men.' In this lies our greatest debt to the Renaissance, that it instituted the welfare of men as the end of all action.
It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.
Who will free me from hurry, flurry, the feeling of a crowd pushing behind me, of being hustled and crushed? How can I regain even for a minute the feeling of ample leisure I had during my early, my creative years? Then I seldom felt fussed, or hurried. There was time for work, for play, for love, the confidence that if a task was not done at the appointed time, I easily could fit it into another hour. I used to take leisure for granted, as I did time itself.
The fact of our deriving constant pleasure from whatever is a type or semblance of divine attributes, and from nothing but that which is so, is the most glorious of all that can be demonstrated of human nature; it not only sets a great gulf of specific separation between us and the lower animals, but it seems a promise of a communion ultimately deep, close, and conscious, with the Being whose darkened manifestations we here feebly and unthinkingly delight in.
Great nations write their autobiographies in three manuscripts the book of their deeds, the book of their words, and the book of their art. Not one of these books can be understood unless we read the two others; but of the three, the only quite trustworthy one is the last. The acts of a nation may be triumphant by its good fortune; and its words mighty by the genius of a few of its children: but its art, only by the general gifts and common sympathies of the race.
But if, indeed, there be a nobler life in us than in these strangely moving atoms; if, indeed, there is an eternal difference between the fire which inhabits them, and that which animates us,--it must be shown, by each of us in his appointed place, not merely in the patience, but in the activity of our hope, not merely by our desire, but our labor, for the time when the dust of the generations of men shall be confirmed for foundations of the gates of the city of God.
How false is the conception, how frantic the pursuit, of that treacherous phantom which men call Liberty: most treacherous, indeed, of all phantoms; for the feeblest ray of reason might surely show us, that not only its attainment, but its being, was impossible..... There is no such thing in the universe. There can never be. The stars have it not; the earth has it not; the sea has it not; and we men have the mockery and semblance of it only for our heaviest punishment.